Assuming you will do "close-miking", from the looks of your drum kit (which looks very nice), you would need:
- one small diaphragm dynamic for each tom batter (that means 2 for your kit)
- one small diaphragm dynamic for snare batter
- one dynamic (small or large diaphram) for bass drum reso side
- two small diaphragm condensers for overheads (if you want it stereo)
- one OPTIONAL small diaphragm condenser for hi-hat (in a pinch, the overheads can cover that, but many will opt for a separate mic to capture details).
- one OPTIONAL small diaphragm (dynamic or condenser) for snare bottom (this is to add detail to the snare buzz only, but not mandatory if you can get a good enough sound from the top).
- one very OPTIONAL large diaphragm condenser for ambience.
For "cheap" mics, forget the Shure pgDmk6 kit. To me, PG series mics are in a sense "disposable" mics, and aren't cheap for what they are. While they are fine for recreational use, their shortcomings are very obvious in critical applications. Its like getting Pearl Forum series drums at Vision series prices. They are no more durable or sonically tolerable than, (gasp) Behringer stuff, which are much cheaper. I got a pair of B-1's for a 1-year field recording project three years ago, and while they sound just a shade above tolerable, they still work to this day. If this just is a one-off DIY/demo recording project, and don't see yourself getting a record contract and entering a real studio down the road, cheap stuff will do for now.
But if you plan to use this setup in the medium-term for a number of recordings, get good stuff. $1000 can squeeze in quality mics for the mandatory setup. Good mikes are an investment and can be used to record the rest of the band (condensers for acoustic guitars and ambience, and dynamics for guitar amps), and for live gigs if the venue doesn't have enough mics. Since you are interested in worry-free "packs", I recommend these:
1) The Shure DMK57-52 pack gets you three SM57's and one Beta 52A. For better or worse the SM57 is the benchmark for small diaphragm dynamics in terms of sound quality and durability, and countless recordings have used them. The pack also includes the clip-on drum holders. Every mic company has an equivalent model in the same price range. I will agree with caddywumpus that Audix mics are pretty good, and they have a nice pack similar to this (Audix DP5-A). So if you are serious, don't get anything less than the SM/Beta line of Shures.
2) The Rode nt5 (matched pair pack) is a fabulous small diaphragm condenser. Everything good you may have heard or read about them is absolutely true. They are about $30 cheaper than a pair of A-T 4041's, half the price of a pair of SM81's, and 1/3 the price of a pair of AKG451's. They have been used for everything from drum overheads, to acoustic guitars, to harpsichords, to choirs, to orchestras. The nt5's are actually next on my personal wish list for my occasional pro-bono acoustic ensemble recordings.
3) 1 and 2 will come up to just below $1k. If you have a little extra money, or can strike a deal with the store, get the optional stuff. This means another nt5 (single) for the hihat, and an SM57 for the snare bottom. If its not possible, cheap Behringers will be tolerable. The very optional ambience mic is only applicable if the room sound interacts nicely with the drum kit sound. I use this primarily to give the drums some "air" without having to use too much artificial reverb, but you have to be careful to avoid phase cancellation. This can also be soloed when you need an occasional "lo-fi" sound.
4) Put aside some money for cables and stands. For 6 mikes minimum you will need about 60 meters of cable (6 mike cables x 10 meters per cable), and 12 xlr connectors. Its cheaper to make them yourself, as it needs only basic soldering skills. And even if you get the Shure kit with drum clips, you will still need two boom stands for overheads, and one for the bass drum.
